Their first single "Hong Kong Garden" reached the top ten in the UK in the summer of 1978. Their debut full-length The Scream (1978) is today considered as a classic. NME wrote in its review, "The band sounds like, some unique hybrid of the Velvet Underground mated with much of the ingenuity of Tago Mago-era Can, if any parallel can be drawn... certainly, the traditional three-piece sound has never been used in a more unorthodox fashion with such stunning results." Indeed, "Switch" placed Siouxsie and the Banshees as pioneers of the post-punk movement.
Their sophomore Join Hands (1979), perhaps their darkest record, followed up. Guitarist McKay and drummer Morris had left the band shortly after its release. This change allowed Siouxsie the Banshees to play different music. They recruited drummer Budgie and the gifted John McGeoch, formerly of Magazine, who would play guitars on the three following records. McGeoch's work with Siouxsie the Banshees would later be praised by the likes of Radiohead and the Smiths.
Their third record Kaleidoscope (1980) released. Including tracks "Happy House" and "Christine", showed a brand new musical departure with liquid guitars and atmospheric synthesizers. This eclectic record was a success and it reached the top five in the national UK charts. One year later, fourth full-length Juju (1981), with the vibrant "Spellbound", was yet another success for the band.
The last session McGeoch recorded with Siouxsie and the Banshees was for the "Slowdive" single off the classic A Kiss in the Dreamhouse (1982). The British press greeted this fifth release enthusiastically. NME wrote on its review, "I promise. This music will take your breath away." McGeoch, worn out by the recording process of these songs, was hospitalized on his return from a promotional trip to Madrid, Spain. At the same era, Siouxsie and drummer Budgie formed the Creatures to record music more based on percussion.
In late 1982, McGeoch was replaced by famed Robert Smith, from the Cure. Smith became a full-time member between the years 1982 and 1984. He contributed to the classic live album, and later would be DVD, Nocturne (1983) and to the sixth studio album Hyaena (1984) as co-composer.
Guitarist John Valentine Carruthers, from band Clock DVA, replaced Smith in May, 1984. He played on the successful seventh full-length Tinderbox (1986), which included the first hit single of the band in the US, "Cities in Dust". The following covers album Through the Looking Glass (1987) with "This Wheel's on Fire", allowed the band to broaden up their sound.
Following a lengthy break, the rest of the band recruited another, new guitarist Jon Klein, from Specimen and the multi-instrumentalist Martin McCarrick to record ninth studio Peepshow (1988). The hit single "Peek-a-Boo" was considered as avant-garde for its abrasive sounds.
After the most impressive tour of their career, Siouxsie and the Banshees stopped for a while and then the Creatures reappeared with critically acclaimed sophomore Boomerang (1989). One of the most languorous songs from this record, "Killing Time", was covered live by Jeff Buckley a few years later.
In May 13th, 1991 Siouxsie the Banshees returned with the single "Kiss Them for Me", mixing the Beatles strings over a dance rhythm. This track peaked in the US singles charts at number 23, allowing them to reach a new audience. Melody Maker praised the last two studio albums by the band, Superstition (1991) and The Rapture (1995). The latter, partially produced by John Cale, included the swansong "Forever".
Morrissey later recorded a duet with Siouxsie titled "Interlude". This one, off-single was published under the banner of the two artists' names. After 20 years together, Siouxsie and the Banshees split in April, 1996. Siouxsie and Budgie thet announced that they would carry on recording as the Creatures. They released their third studio Anima Animus (1999) to critical acclaim.
The box set Downside Up (2004) was released, compiling 51 unreleased B-sides and the highly praised out-of-print The Thorn EP. Most of these numbers like, "Something Wicked (This Way Comes)" and "Red over White", are considered by fans as 'classics.' After carrying on recording as the Creatures, Siouxsie released her debut solo Mantaray (2007). The record was hailed by both Pitchfork and Mojo.
Influence on Other Artists
Siouxsie and the Banshees have influenced musicians worldwide across many genres.
The band had a strong impact on Trip Hop acts such as:
* Tricky covered "Tattoo" to open his second solo album Nearly God. Here's his version: Tattoo. The original version of "Tattoo" was recorded in 1983 and is available on the Banshees Downside Up box set.
* Massive Attack covered and sampled the music of Metal Postcard on their song "Superpredators (Metal Postcard)" for the movie soundtrack The Jackal.
Siouxsie and the Banshees also inspired the following artists :
* LCD Soundsystem covered "Slowdive" for the cd-single "Disco Infiltrator". Here's the original Slowdive and the LCD Soundsystem version Slowdive (XFM session)
* Jeff Buckley covered live a Siouxsie / The Creatures song called 'Killing Time' originally composed in 1989 on the album Boomerang. Here's the original Killing Time.
* Morrissey stated this in 'GQ' in 1994 : "None of them are as good as Siouxsie and the Banshees at full pelt. That's not dusty nostalgia, that's fact."
* The Smiths guitarist Johnny Marr from The Smiths stated on the BBC radio 2 in february'2008 that he rated very high McGeoch for his work on Spellbound.
* Garbage singer Shirley Manson wrote in the foreword of the official Siouxsie and the Banshees biography in 2003 by Mojo magazine journalist Mark Paytress : "I learned how to sing listening to The Scream and Kaleidoscope."
* Radiohead bassist Colin Greenwood claims that while recording their song "There There", producer Nigel Godrich tried to get guitarist Jonny Greenwood to sound like the Banshees' John McGeoch.
* PJ Harvey selected in her top ten favourite albums of year 1999 : Anima Animus by The Creatures. aka Siouxsie.
*Jane's Addiction guitarist Dave Navarro also makes a parallel between his band and the Banshees in Siouxsie's official biography: "There are so many similar threads : melody, use of sound, attitude, sex-appeal. I always saw Jane's Addiction as the masculine Siouxsie and the Banshees."
*The Beta Band sampled the bridge of Painted Bird on their track Liquid Bird from the Heroes to Zeros album.
*Red Hot Chili Peppers covered Christine live at the V2001 festival. In 2002, their guitarist John Frusciante stated in an article featured on Total Guitar Magazine about Banshees guitarist John McGeoch : "He’s just a great guitar player, full stop. I wanted to listen to these people who weren’t just about technique but more about textures. People like John McGeoch. People who used good chords." also declaring that John McGeoch was an influence for the sound on the Red Hot Chili Peppers album By The Way.
*The Mars Volta covered Pulled to Bits (Live At The Royal Albert Hall) for the 'Wax Simulacra' single.
*Arcade Fire singer Win Butler suggested to the band Devotchka to cover the 1988 Siouxsie song : The Last Beat Of My Heart. One can listen to the Devothcka version on their Curse Your Little Heart ep.
* The Cure leader Robert Smith declared in 2003 in Mark Paytress's Siouxsie biography : "Siouxsie and The Banshees and Wire were the two bands I really admired. They meant something." He also pinpointed what the Join Hands tour brought him musically. "On stage that first night with the Banshees, I was Blown away by how powerful I felt playing that kind of music. It was so different to what we were doing with The Cure. Before that, I'd wanted us to be like The Buzzcocks or Elvis Costello, the punk Beatles. Being a Banshee really changed my attitude to what I was doing." He also talked about the band to Steve Sutherland in 1985 to describe "The Head On the Door" : "It reminds me of the Kaleidoscope album, the idea of having lots of different sounding things, different colors."
*U2 selected Christine for a compilation made for Mojo and The Edge presented an award to Siouxsie at a Mojo ceremony in 2005.
www.siouxsie.com
https://siouxsieandthebanshees.backstreetmerch.com
Split in 2002
The Lord's Prayer
Siouxsie and the Banshees Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
O! I'm gonna get you in the end!
Getcha! Getcha! Getcha!
Our father which art in heaven.
Hallowed be thy name.
Thy kingdom come.
Thy will be done as on Earth
O in heaven.
And lead us not into temptation.
But deliver us from evil.
For thyne is the kingdom,
Power and the glory
Forever and ever amen.
Fury, chastity, burden,
Sacrifice, claim me guilty.
Burt white skin.
Running red, red on white,
Judge, icon, icon,
I am gonna getcha.
Revenge, revenge,
Never talk blabber to me.
Red running revenge.
Revenge getcha getcha getcha revenge
Never talk blabber to me.
Shalalalala... O no... no...
A knock knock knocking
Knock knock knocking on heaven's door.
Let me in! O let me in!
La La La Woo-oo-oo!
Who's that knocking on my door?
He floats like a butterfly,
Stings like a bee;
Floats like a butterfly but he
Stings like a bee.
Yedelay shedelay.
Ding-a-ling-a-ling.
Ding-a-ling-a-ling-a-fucking-ding
On the door, on heaven's door.
Bawk bawk bawk
Bawk bawk bawk BAWK!
Bawk bawk bawk bawk bawk BAWK!!
My little chickadee, carry on.
Carry on.
Our father which art in heaven.
Hallowed be thy name.
Thy kingdom come, thy will be done,
As on Earth as it is in heaven.
In heaven.
Ahhh! Ah! Ah!
I'm gonna getcha in the end!
Getcha, I'm gonna getcha.
To me - talk blabber
I'll getcha.
When you're clever
I'll getcha in the end.
I'll get you in the end.
O! O! Shake it, shake it, baby,
Shake it, shake it, baby, now.
Twist and shout! Ow!
A knife, a fork, a bottle, and a cork
That's the way you spell New York.
Yodelay-hee-he!
Yedelay-hee-hee!
Yodelay-yodelay-yodelay-hee-hee!
Yodelay-yodelay-yodelay-hee-hee!
Tomorrow belongs to me.
Let me open it.
Let me open it.
Don't take it away from me.
La-de-la-de-la-de-lalalala...
Sick it hard.
Holy cow. Holy cow.
Well shake it, shake it baby
Shake it, shake it, baby, now.
O, you twist little girl,
You know you twist so fine,
C'mon and twist a little closer
And let me know that you're mine.
O let me know that you're mine.
Mine, mine, mine, mine.
Our father which art in heaven.
Hallowed be thy name.
Ah-thy-a-king-a-dom-a-come
A-thy-a-will-a-be-a-done on Earth
As it is in heaven. Heaven.
Running red, running red, red on white.
Running red. Red over white.
Run, run, run, run, run-a, run-a,
Run-a, run-a, run, run, run, run-a,
Run-a, run-a, run and hide.
Run and hide.
You'll never frighten me.
Run and hide.
You can hide all you like.
Run and hide.
Leave me alone.
So run and hide.
But I'll get your hide.
Run and hide.
I'll have your hide.
O-Ha! Ha! Ha! Ha! Ha! Ha! Ha!
Will I get to heaven?
This is all wonderful
But will I get to heaven?
Will all god's children get to heaven?
If you're good - if you're good
No you'll never get to heaven
Not even if you're good
There's never ever been a heaven.
There's never ever been a heaven.
On Earth as it is in heaven.
On Earth as it is in heaven.
That's what it says.
No heaven is Earth
Earth as it is in heaven.
On Earth as it is in heaven.
On Earth as it is in heaven.
On Earth as it is in heaven.
Run and hide.
No escape.
Run and hide.
You do-gooders will never get to heaven.
You do-gooders will never get to heaven.
Still safe in your
Still safe in your house
O god - but you'll never
You'll never, never, ever get to heaven.
You'll never climb the ladder to heaven.
So just shake it, shake it, shake it,
Shake it baby - and twist and shout.
Our father which art in heaven.
Hallowed be thy name.
Thy kingdom come, thy will be done.
This prayer goes on and on
Siouxsie and the Banshees's song The Lord's Prayer, despite featuring some of the lyrics from the Christian prayer, was not a religious song by any means. Instead, the group's version could be seen as a criticism of the hypocrisy and oppressive nature of organized religion. The song's opening lines are intentionally sung with an angry, almost sarcastic tone. Following this, there is a blend of seemingly random and chaotic lyrics, including lines like "fury, chastity, burden, sacrifice, claim me guilty," that can be interpreted as arguments against religious doctrines such as chastity and self-sacrifice. The song's lyrics also mention revenge, leading some to suggest that the song could be seen as a rebellion against the concept of turning the other cheek.
The repeated phrases throughout the song also add to the chaotic feeling of the song. For example, the repeated "Getcha! Getcha! Getcha!" lines at the start of the song are sung with an almost taunting quality, making it seem like the song's narrator is mocking the idea of vengeance. Similarly, the repeated "Run and hide" lines create a sense of desperation and panic, as if the singer is trying to shake off the burdens of false morality placed on them by society. Overall, The Lord's Prayer is a song that can be interpreted in a variety of ways, but at its core, it highlights the frustration and anger that can come from feeling trapped in the confines of organized religion.
Line by Line Meaning
Our father which art in heaven.
Addressing God, who is in heaven.
Hallowed be thy name.
May God's name be respected and holy.
Thy kingdom come.
May God's kingdom come to Earth.
Thy will be done as on Earth
As it is in Heaven.
May God's will be done on Earth as it is in heaven.
And lead us not into temptation.
Asking God to help us avoid temptation.
But deliver us from evil.
Asking God to save us from evil/doom.
For thyne is the kingdom,
Power and the glory
Forever and ever amen.
Praising God's kingdom, power, and glory for all eternity.
Fury, chastity, burden,
Pleading with God while reflecting on the struggles of life.
Sacrifice, claim me guilty.
Acknowledging the need for sacrifice and repentance.
Burt white skin.
This is likely a mistake in transcription and not part of the true meaning of the song.
Running red, red on white,
Judge, icon, icon,
Describing an intense scene of bloodshed and judgment.
I am gonna getcha.
A threatening expression of revenge towards someone.
Revenge, revenge,
Continuing the message of retribution.
Never talk blabber to me.
Warning someone not to say empty or foolish things.
Red running revenge.
Describing the persistent, violent nature of revenge.
Revenge getcha getcha getcha revenge
Repeating the message of revenge and retribution.
Shalalalala... O no... no...
A sound effect and expression of despair, respectively.
A knock knock knocking
Knock knock knocking on heaven's door.
Let me in! O let me in!
La La La Woo-oo-oo!
Who's that knocking on my door?
Requesting entrance into heaven with a sound effect and question.
He floats like a butterfly,
Stings like a bee;
Floats like a butterfly but he
Stings like a bee.
A reference to Muhammad Ali's famous boxing style in representation of God.
Yedelay shedelay.
Ding-a-ling-a-ling.
Ding-a-ling-a-ling-a-fucking-ding
On the door, on heaven's door.
A nonsensical sound effect and possible reference to knocking on heaven's door.
Bawk bawk bawk
Bawk bawk bawk BAWK!
Bawk bawk bawk bawk bawk BAWK!!
Random, comical sound effects of chickens or birds.
My little chickadee, carry on.
Carry on.
Encouraging someone to persevere.
Ah-thy-a-king-a-dom-a-come
A-thy-a-will-a-be-a-done on Earth
As it is in heaven. Heaven.
A playful rewording of the Lord's prayer.
Running red, running red, red on white.
Running red. Red over white.
Run, run, run, run, run-a, run-a,
Run-a, run-a, run, run, run, run-a,
Run-a, run-a, run and hide.
Run and hide.
You'll never frighten me.
Run and hide.
You can hide all you like.
Run and hide.
Leave me alone.
So run and hide.
But I'll get your hide.
Run and hide.
I'll have your hide.
Describing a chase or pursuit with a threatening message of revenge.
O-Ha! Ha! Ha! Ha! Ha! Ha! Ha!
Possible sound effects of laughter or excitement.
Will I get to heaven?
This is all wonderful
But will I get to heaven?
Will all god's children get to heaven?
Questioning whether one will go to heaven and if everyone deserves to go there.
If you're good - if you're good
No you'll never get to heaven
Not even if you're good
There's never ever been a heaven.
There's never ever been a heaven.
On Earth as it is in heaven.
On Earth as it is in heaven.
That's what it says.
No heaven is Earth
Earth as it is in heaven.
On Earth as it is in heaven.
On Earth as it is in heaven.
On Earth as it is in heaven.
Asserting that being good doesn't guarantee access to heaven while deconstructing the notion of heaven.
Run and hide.
No escape.
Run and hide.
You do-gooders will never get to heaven.
You do-gooders will never get to heaven.
Still safe in your
Still safe in your house
O god - but you'll never
You'll never, never, ever get to heaven.
You'll never climb the ladder to heaven.
So just shake it, shake it, shake it,
Shake it baby - and twist and shout.
Continuing the theme of revenge and expressing cynicism towards those who follow the notion of heaven.
This prayer goes on and on
A humorous meta-commentary on the length of the Lord's prayer and perhaps organized religion.
Contributed by Caroline E. Suggest a correction in the comments below.